Thursday, January 26, 2012

English singer/songwriter and record producer Paul Ryan and his identical twin brother Barry were born in Leeds, West Yorkshire on October 24, 1948. The sons of '50s pop singer Marion Ryan, the duo was groomed for the spotlight, releasing their first single ("Don't Bring Me Your Heartaches") in 1965 for Decca Records. While Barry thrived in the limelight, Paul became more and more disenchanted with the constant touring and television appearances, resulting in the duo's dissolution in 1968. Barry eventually signed with MGM Records and Paul continued to write, providing his brother with a number of songs, including the track that would become his signature piece, the grandiose "Eloise" (British art-punkers the Damned scored a hit cover of the song in 1986). Paul Ryan died of cancer in 1992.

Barry Ryan

The son of pop singer Marion Ryan, Ryan and his twin brother Paul began to perform at the age of 16. In 1965 they signed a recording contract with Decca and, under the name of "Paul & Barry Ryan", brought out singles such as "Don't Bring Me Your Heartaches" (1965), "Have Pity on the Boy" (1966) and "Missy Missy" (1966)

When it turned out that Barry's brother, allegedly on the verge of a nervous breakdown, was unable to cope any longer with all the stress connected with show business, the two brothers decided on a new division of labour: Paul would write the songs which Barry would then interpret as a solo artist. Their greatest success as a composer-singer duo, now for MGM Records, was "Eloise" (1968), melodramatic and heavily orchestrated. Later singles included "Love Is Love" (also 1968), "The Hunt" (1969), "Magical Spiel" (1970), and "Kitsch" (1970).

"Love Is Love", written by Barry himself, and released in the United Kingdom during February 1969 was not a great success in his own country. However combining sales from Germany, Austria and the Netherlands, "Love is Love" sold a million copies by August 1969, the second million-seller for Ryan.

Ryan was also very popular in Germany. Promoted by BRAVO, the German youth magazine, Ryan also recorded a number of songs in German, for example "Die Zeit macht nur vor dem Teufel halt" ("Time Only Stops at The Devil").

Ryan stopped performing in the early 1970s. There were rumours that Ryan had had an accident in the recording studio. Supposedly he suffered serious burn wounds in the face and could no longer appear in public. However, he made a comeback in the late 1990s when a two CD set with his, and his brother's, old songs was published. Ryan was also part of the 'Solid Silver 60s Tour' of the UK in 2003, singing "Eloise" backed by The Dakotas.

Monday, January 23, 2012

When scanning collector magazines, you'll often come across listings for albums by obscure psychedelic bands such as Top Drawer, commanding ridiculously high prices merely because they're very rare. And in most cases, just because they're very rare doesn't mean you have to pay those prices, or even feel like you're missing much. Top Drawer, a young Kentucky band whose generic bluesy guitar riffing, naively overambitious lyrics, and reliance upon hard rock cliches screamed 1969-1970, made one of those rare records. Which didn't stop it from getting reissued in the 1980s

Bringing fans the best of obscure psychedelia, Arkama finally put collectors out of their misery with the reissue of Top Drawer's Solid Oak. It doesn't get much rarer than this: the Kentucky band self-released Oak back in 1969, pressing only a measly 500 records, and hardcore psychedelic aficionados have been searching for copies ever since -- but now it's back in digipack form and boasting the original sleeve's artwork. From the epic opening track, "Song of a Sinner," it's evident why so many were so keen to get their hands on this album. This dreamy, atmospheric track boasts both sublime keyboard work from Ron Linn and stellar lead guitar from John Baker. "Sweet Memories," in contrast, delivers up a more delicate aura, with Linn's harpsichord now to the fore. But Top Drawer were capable of more than just sweeping soundscapes and lilting melodies, as the poppy "Middle Class America," awash in fazed guitars, symphonic organs, and splashy lead guitar, well proves. "Time Passes Much Too Quickly" and "What's in Store" are equally bright and breezy, but flecked with a British beat aura; "Baker's Boogie" delivers precisely that, while the guitarist showcases his best surf styling on "Messed Up" and the entire band struts into freakbeat on "Lies." The musicianship is superb and Baker is a virtuoso, surprisingly preferring a relatively understated approach compared to his more braggadocio guitar god contemporaries, thus leaving plenty of room for the rest of the band to equally impress. This may be a reflection of the group's songwriting, for Baker contributes only his "Boogie" and the bulk of the set is composed by singer Steve Geary or bassist Alan Berry -- in any case, the melodies reign supreme throughout. This superb album has been long sought after, and now everyone can experience its pleasures. ~ Jo-Ann Greene

***

"...Top Drawer is without a doubt one of those bands that has been long forgotten about. If it wasn’t for this wonderful compilation record, I don’t know if I ever would have stumbled upon these guys. This obscure band hailed from the rural center of the United States, coming right out of Kentucky. There aren’t many facts to be said about the band, considering they were around back in 1969-1970 and they only have one album that I am aware of. Their one and only album, titled “Solid Oak”, was recorded back in 1969 at Fultz Recording Studio . According to the record sleeve of the compilation the album was only repressed one time back in 1980 on Akarma Records from Italy, and has never been pressed since. On top of that, none of the band’s original members have ever surfaced to talk about the music, and it’s not looking like they’re about to show up anytime soon. This song was included on the compilation in hopes that the band members would take notice of the praise that their almost-perfect record “Solid Oak” has continually received over the years. Then perhaps the band members can give us their side of the story on what it was like to be twenty-something years old in the middle of America and release a psychedelic masterpiece, and then vanish back into normal life without a trace.."

Graffiti released an obscure, self-titled LP on ABC in 1968 that was co-produced by Bob Thiele (more known for his work with many major jazz musicians), Eddie Kramer (most known for his engineering on Jimi Hendrix records), and Jay Senter. Though accomplished in its musicianship and versatile in its stylistic focus, Graffiti lacked much in the way of enduring musical interest, blending some jazz, classical, pop, and blues influences into a generic, West Coast rock-influenced psychedelic sound that often employed high multi-part vocal harmonies.

Graffiti's sole album was in some ways typical of numerous obscure psychedelic one-shots on fairly big labels in the late 1960s: over-ambitious lyrics, a kaleidoscope of styles that butted heads as often as it blended, emulation of several passing psychedelic trends pioneered by bigger groups, and an absence of really good songs. All that said, as such albums go, it's better than average, though hardly noteworthy. That's kind of faint praise, but at least Graffiti were less ponderous than many such bands, with a sort of gossamer lightness to much of their material. As for what kind of styles they mined, they're hard to pin down, though they're fairly influenced by West Coast psychedelia of the era, with some of the vocal harmonies so high that one can mistakenly think there was a woman in the group (there wasn't). Bits of jazz, classical guitar, blues-rock, psychedelic effects, and vocal harmonies both sunshine pop and Gregorian seep through from time to time as the band float through an ever-shifting melodies and styles. The songs and instrumental solos do tend to go on too long, however, and the songwriting isn't memorable

Michigan Mayhem Volume 2 (2005 US limited edition 29-track CD album, compiling rare and obscure 60s garage punk sounds from The Wolverine State, including gems originally released on such legendary labels as Fenton, Wheels 4 and Hideout!Killer cuts from The Plague, Pleasure Seekers [featuring a young Suzi Quatro], Aardvarks, Chentells, Chessmen, Grifs and many more, includes a neat booklet with a little info on each band!).

For fans of riff-driven, raw garage rock, Michigan Mayhem Vol. 1 is a good place to start. Most of the tracks on this are good and it's a fairly eclectic compilation—from the acid rock of Black Rose to the psych-pop of the Pagens to the to the R&B-influenced garage rock of the Rationals to the countrified homage to beer by the Pleasure Seekers. Not all of the tracks on Michigan Mayhem Vol. 1 work but the range of styles represented here makes this compilation an interesting and essential documentation of the time period.

As indicated in the title, all of the bands on this compilation came from Michigan, which had thriving scenes of all sorts of music, particularly in Detroit. Perhaps what makes Michigan such a good source of garage rock of the sort on this compilation is that it incorporates eclectic influences while still retaining the inspired amateurism of garage rock.

Sunday, January 22, 2012

Following an entertaining intro (by DJ The Lord, of Shangrlaradio.com), the Quatro sisters original composition "Gotta Get Away" comes on heavy with a wall of organ and guitar likes a snarly Detroit version of an Avalon ballroom mainstay! This is the first taste of seven previously unreleased '60s recordings by Michigan's Pleasure Seekers. It was long rumored the girls had laid down more in the studio than the three singles well known to serious rock & roll fanatics, but now the wait is over.

The first thing that becomes clear is how Arlene Quatro's organ work is impeccable throughout, providing a solid foundation to the tracks she performed on. The second track "Never Thought You'd Leave Me" is of an earlier vintage however, when the Ball sisters, Nan and Mary Lou were in the group, and Arlene, the eldest Quatro had yet to join. Not yet out of their teens, Patti Quatro's lead guitar and Suzi's vocals are already solid on their 1966 debut on the Hideout record label, from the people who gave Detroit it's Hideout club. Suzi's bass is a real highlight here. On the title track from the same single you can hear how the Pleasure Seekers held their own on the same stages as The Rationals and Bob Seger & The Last Heard. In fact Suzi Q's vocals are pretty much as strong they would be later at the height of her solo '70s fame.

From the Mercury era the standout track here is "Light Of Love", an upbeat rocker that equals the best sides by labelmates The New Colony Six. There is a cool chant aspect to the chorus here making me wonder why some glam group didn't cover this in the ealry-mid '70s, it would've outshone much of the repertoire from the period! Stax/Booker T style organ with soul harmonies tend to dominate the remaining cuts, but Patti's guitar licks get elastic and really shine making possibly average material something more engaging. There is one great vocal performance, by drummer Darline Arnone apparently, on "Good Kind Of Hurt" also worth mentioning. The set closes with a slower experimental freak-out song called "Mr. Power" which comes over like Joe Meek, a great surprise and a cool note to end on definitely leaving me still wanting to hear more.

A pre-Hideout recording titled "White Line" for the Golden World label is missing or in that label's archives. The CD also doesn't include the song "Shame", the b-side of one Mercury single. With the addition of Nancy Quatro The Pleasure Seekers evolved into the group Cradle, and there is an album's worth of this material also available for the first time on CD.

The Pleasure seekers were an all girl garage band from Detroit, Michigan. In 1964, Patti Quatro started The Pleasure Seekers with friends Nancy Ball (drums), Arlene Quatro (keyboards), and a 16-year-old Suzi Quatro. They only released two singles: "What A Way To Die" / "Never Thought You'd Leave Me" (Hideout) 1966 "Light Of Love" / "Shame" (Mercury) 1967 "What a Way To Die" is an ode to teenage drinking and has been on many many garage compilation

Originally a vinyl issue (now on compact disc), this is one of the great original Detroit rock & roll collections from the mid-1960s. The Hideouts were a raft of teen clubs that featured all the local bands. As an incentive to make them bigger, the club owners started their own label and started recording singles on the local talent. Kicking off with the Underdogs' "The Man In the Glass" (utilizing a poem from Alcoholics Anonymous as its lyrical text!), the compilation also features stellar tracks from the 4 of Us ("I'll Feel a Whole Lot Better" and "I Can't Live Without Your Love"), the Henchmen ("Please Tell Me"), the Yorkshires ("I'll Go Crazy" and "Hey-Hey-Hey"), Doug Brown and the Omens ("First Girl") and the all-girl group the Pleasure Seekers, featuring a young Suzi Quatro on bass. Although none of the 12 songs aboard broke nationally, a better album of local garage band hits from any area would be hard to assemble. ~ Cub Koda, Rovi

It's the mid 1960s and Baltimore is alive with a teen band on every corner. Enter local label Dome Records who sponsor a battle of the bands with a grand prize of a recording session leading a track on this compilation. With Joey Welz producing the groups--mostly direct to two track--the tracks have a Friday night in the gymnasium amateurish charm that's hard to resist. This lack of polish is, of course, what makes these sides so interesting and so indelibly of their time. Groups like the Night Walkers, the Fabulous Monarchs, the Amoebas, the Rysing Suns, the Road Runners, the Beggars, and the Executioners may be only small, small footnotes to the history of rock'n'roll, but if it's true blue American garage band DIY rock'n'roll you're looking for, this is one collection that's a must have. ~ Cub Koda, Rovi

Not to be confused with the Cleveland pop/rock group that had a Top Ten hit in 1966 with "Time Won't Let Me," these Outsiders (from Amsterdam, Holland) could issue a serious claim for consideration as the finest rock band of the '60s to hail from a non-English-speaking nation. Led by singer/songwriter Wally Tax, the group was quite comparable to England's Pretty Things in their fine raw, punky R&B/pop with basic but riveting hooks. Like the Pretty Things, the Outsiders (who sang entirely in English) made similar psychedelic/progressive ventures in the late '60s that cut loose from their R&B roots without losing sight of them entirely. Recording several albums of material (consisting wholly of original compositions) between 1965 and 1969, the group tempered their punky, almost proto-hardcore ravers with melancholy, pensive folk-rockers and unpredictable production touches ranging from Baroque mandolins and harpsichords to found radio static. The Outsiders' music was fraught with tension, the punkish rhythms playing against the melodic tunes, the R&B sensibilities against the pop hooks, often within the same song. They were unknown on an international level to all but the most fervent '60s collectors. Wally Tax moved to the U.S. in the early '70s, where he recorded one album as the leader of the band Tax Free.

Prior to the 2002 release of this compilation, everything done by the Outsiders was well-represented on CD except for the bulk of their singles. That was a shame, as their dozen 1965-1969 singles contained much of their best work. That gap is entirely rectified by this exemplary compilation, which includes both sides of all dozen of their 1965-1969 singles. Although some of these had appeared as bonus tracks on CD reissues of the albums The Outsiders, C.Q., and C.Q. Sessions, a bunch of these hadn't, including some of their very best songs. Among those songs would be the wistful continental folk-rock of "Summer Is Here"; "Monkey on Your Back," one of their most lyrically challenging pieces; the gentle folk-rock of "I've Been Loving You So Long," "Teach Me to Forget," and "Don't You Worry About Me"; and the downright berserk experimental punk of "I'm Only Trying to Prove to Myself That I'm Not Like Everybody Else." There's much more here to bolster their claim to the title of best '60s rock group to hail from a non-English-speaking territory, like the Pretty Things-style rave-up "You Mistreat Me"; the sexy pounder "Touch"; the Eastern European-influenced minor-keyed punk-folk-rock of "Sun's Going Down"; and the gloomy psych-punk of their final 45, "Do You Feel Allright"/"Daddy Died on Saturday." While the 1968 single "Cup of Hot Coffee" might be their poppiest and weakest effort, it's long been their hardest track to acquire, and its availability on CD is welcome. Die-hard collectors might want to note that the take of "Touch" here is the original single version, not the other take included on previous Outsiders compilations, while the mixes of "I Don't Care" and "You Remind Me" are the single versions, not the ones heard as bonus tracks to the C.Q. CD reissue. The extensive liner notes include many insightful quotes from Outsiders singer Wally Tax.

This group from Delft was formed in 1965 by singer Peter Tetteroo (ex-Shats). They were initially an R&B band, but their repertoire became more and more poppy over the years. From 1967, their records were released on their own Teeset Records label (a first on the Dutch pop scene).

The first line-up included: Peter (vocals), Carry Janssen (drums, later to Nico Haak), Gerard Romeyn (guitar/bass, 1966-67 on guitar, to The Motions) and Rob "Polle" Eduard (guitar/bass). In 1966, Robert Plazier (keyboards, ex-C-Sounds, later with Nico Haak) came on board. Their first two singles were penned for them by Robbie van Leeuwen of The Motions and were moderate hits. Hans van Eijck (guitarist of Jumping Pop-in) composed a few songs for their debut album "Emotion". After the release of the album Robert Plazier was ousted in favour of Hans van Eijck, who switched to organ. Early 1967, Gerard Romeyn left to join The Motions as a replacement for Robbie van Leeuwen. English guitarist Ray Fenwick (ex-Syndicats, where he'd replaced Steve Howe) joined the Tee Set with Polle Eduard now permanently on bass. In the Spring of 1967, there were squabbles between singer Peter Tetteroo (backed by manager Theo Kuppens) and the rest of the band. At the centre of the problems were disagreements about the royalties for "Don't You Leave" (a Top 10 hit culled from the album "Emotion"), which was a traditional blues song copied from a Dave Van Ronk album, for which Tetteroo and Kuppens claimed songwriting credits. Tetteroo decided to get rid of the whole band (Janssen had already left) and subsequently Eduard, van Eijck and Fenwick founded After Tea.

Tetteroo then picked three members of Amsterdam band James Mean (who were without a lead singer as Michel van Dijk had joined Les Baroques): Franklin Madjid (bass), Joop Blom (drums) and Ferdy Karmelk (guitar). Jan Pieter Boekhoorn (like Hans van Eijck also an ex-Jumping Pop-in, later in Sympathy) joined on organ. The music style of the band shifted from R&B to pop with songs like "Tea Is Famous". The following year Karmelk was replaced by Dihl Bennink (ex-Don't, brother of Leo Bennink of the Jay-Jays and The Motions) followed by the replacement of Boekhoorn by Peter Seilberger (later in Fairy Tale).

1969 saw the return of Hans van Eijck from his stint with After Tea. The line-up of Tetteroo, van Eijck, Madjid, Blom and Bennink recorded the worldwide hit "Ma Belle Amie" (#5 in the Billboard Hot 100 in 1970), but the personnel changes continued. First Blom was replaced by Herman van Boeyen (ex-Fullhouse, to Supersister) on drums, but soon afterwards he left and Max Spangenberg joined. Ferry Lever left After Tea to join the Set on guitar. This line-up remained stable for a few years scoring hits like "She Likes Weeds" (their only Dutch #1 hit) which was banned in the USA for drug connotations, (of course) denied by the band. They claimed the first two lines of the chorus were literally taken from the movie "The Ipcress File" (starring Michael Caine) where Harry Palmer (played by Caine) makes a remark about his superior's weedy garden. Palmer's boss answers his wife looks after the garden and that: "She likes weeds, they're easy to grow."

When subsequent releases sold less and less, the band decided to call it a day in 1975. In the 1980s, Peter Tetteroo started touring with all kinds of line-ups again (at one point including Polle Eduard and Ray Fenwick) touring mainly the oldies circuit. Tetteroo died in 2002 from liver cancer at the age of 55.

Tee Set - Emotion (1966)

EMOTION features the Tee Set's complete first album, various singles and a single put out by their leader Peter Tetteroo.

A reissue of their 1966 debut album, doubled in length for CD with the addition of some 1966-67 singles and a solo 45 by lead vocalist Peter Tetteroo. Most of the material's original (although much of it was supplied by non-member Hans Van Eijck), but while the band plays competently and Tetteroo's a talented blue-eyed soulster, the songs are largely unmemorable mid-'60s soul pastiches (with some vague flower pop influence on some of the later sides). There are a couple standout tracks -- the swampy "Play That Record" in particular is a buried treasure, and "Colours of the Rainbow" is the most dead-on emulation of Stevie Winwood in his Spencer Davis days that you'll ever come across. "Ma Belle Amie," released a few years after the era this compilation covers, ain't here; it can be found on Rhino's Super Hits of the '70s: Have a Nice Day, Vol. 2 compilation. ~ Richie Unterberger

The Murmaids can safely be classed as one-hit wonders -- but that one hit, "Popsicles and Icicles," not only characterizes an entire innocent era of pop music and the early phase of '60s girl-group music, but was a key early career jump for several of the participants. The Murmaids were Carol Fischer, Terry Fischer, and Sally Gordon of Los Angeles. They'd grown up together and had begun singing, and when the singing began to show promise in their middle/late-teens, the Fischer sisters' mother brought them into Chattahoochie Records, a tiny Los Angeles-based label, for an audition. The label's recording manager was Kim Fowley, who provided them with a song called "Popsicles and Icicles," composed by David Gates, an Oklahoman with musical aspirations who'd been knocking around Los Angeles for the last few years, writing songs and playing the odd session. The mix of dreamy melody and ethereal girl-trio voices was a quick chart success, "Popsicles and Icicles" scaling into the Top Ten in late 1963. It was, alas, to be the first and last time that the Murmaids were to occupy the attention of chart compilers. And, ironically, by the time the song was a hit, Carol and Terry Fischer had started college, and this was of much greater concern to them -- the trio did cut a few more songs in an effort to follow up on "Popsicles and Icicles'" success, but only "Heartbreak Ahead" in early 1964 managed to get any airplay. Without a full-time professional commitment to touring or personal appearance, the Murmaids proved a one-off success, "Popsicles and Icicles" disappearing, but not without leaving a lot of fond memories for radio listeners. Fowley kept working to get another chart hit, without success, and later Murmaids singles were very likely the work of other singers. The last Murmaids single appeared in 1968, by which time Fowley had begun working with the Clinger Sisters, a girl group (and former regulars on television variety shows, including Danny Kaye's program) who had turned toward a more rocking sound on Columbia Records. David Gates, whose song had given the Murmaids their one claim to fame, was taking his big steps to stardom around that time, forming the group Bread in 1969, which would bring him massive success both as a songwriter ("Make It With You," etc.) and as a pop-rock star during the early '70s. The Murmaids themselves remain a fixture of early/mid-'60s girl group collections. Their records -- and they left behind the equivalent of about an album of surprisingly good material -- recall the Paris Sisters, the Fleetwoods, the Teddy Bears and the rest of the innocent side of girl-group music. ~ Bruce Eder, All Music Guide

This 13-song CD reveals a wider range than the Murmaids' status as one-hit wonders would lead one to expect. The title tune, driven by a softly strummed rhythm guitar behind the gentle, ethereal singing of the trio, is a quintessential piece of early-'60s pop/rock, not as striking as "To Know Him Is to Love Him" but still memorable. The '40s pop standard, "Playmates" (covered by Sandy Stewart in Go Johnny Go) turns up as a bouncy pop/jazz style number, the trio backed by piano, bass, and drums. "You Cheated" is pretty, if routine, girl group fare, but the version of "Mr. Sandman" has an upbeat feel with a certain touch of earthiness. "Alone" is a throwback to doo wop sounds, complete with a "yeah yeah yeah yeah yeah" chorus and a very busy rhythm section, with the Murmaids trying hard emulate the Marcels' "Blue Moon." "Don't Forget" seems to have been producer Kim Fowley's attempt to mimic the Crystals, complete with an anthem-like chorus, a driving beat, and a pseudo-Spector backing band. The coming of age love song "So Young" shows more healthy lust than much of the trio's other repertory. The outstanding track, however, is "Wild and Wonderful," a soaring ballad with a ravishing array of hooks, a gorgeous organ and guitar arrangement, and a haunting fade-out. And anyone who wants more songs like "Popsicles and Icicles" will find them in "Heartbreak Ahead" and "Three Little Words." Strangely enough, one of their big hit's two B-sides, "Blue Dress," is present, but not the other, "Huntington Flats."

The son of pop singer Marion Ryan, Ryan and his twin brother Paul began to perform at the age of 16. In 1965 they signed a recording contract with Decca and, under the name of "Paul & Barry Ryan", brought out singles such as "Don't Bring Me Your Heartaches" (1965), "Have Pity on the Boy" (1966) and "Missy Missy" (1966)

When it turned out that Barry's brother, allegedly on the verge of a nervous breakdown, was unable to cope any longer with all the stress connected with show business, the two brothers decided on a new division of labour: Paul would write the songs which Barry would then interpret as a solo artist. Their greatest success as a composer-singer duo, now for MGM Records, was "Eloise" (1968), melodramatic and heavily orchestrated. Later singles included "Love Is Love" (also 1968), "The Hunt" (1969), "Magical Spiel" (1970), and "Kitsch" (1970).

"Love Is Love", written by Barry himself, and released in the United Kingdom during February 1969 was not a great success in his own country. However combining sales from Germany, Austria and the Netherlands, "Love is Love" sold a million copies by August 1969, the second million-seller for Ryan.

Ryan was also very popular in Germany. Promoted by BRAVO, the German youth magazine, Ryan also recorded a number of songs in German, for example "Die Zeit macht nur vor dem Teufel halt" ("Time Only Stops at The Devil").

Ryan stopped performing in the early 1970s. There were rumours that Ryan had had an accident in the recording studio. Supposedly he suffered serious burn wounds in the face and could no longer appear in public. However, he made a comeback in the late 1990s when a two CD set with his, and his brother's, old songs was published. Ryan was also part of the 'Solid Silver 60s Tour' of the UK in 2003, singing "Eloise" backed by The Dakotas.

We go back to the second half of the fifties of the last century. In the excitement after World War II, the foundation was made for European commercial offshore radio. The adventure started in Scandinavia. Like everywhere else in Europe, radio frequenties were ruled by the government. That's why some smart entrepeneurs decided to seek the international waters. From ships stations like Radio Mercur, Radio Syd, Dansk Commercielle Radio started their transmissions.

The Dutch followed this idea and started Radio Veronica. For a few years not much was going on, but in 1964 British offshore-radiostations like Rado Caroline, Radio London, Radio Essex, Radio 390, Radio 270, Swing Radio England, Radio City boomed.

Even though their popularity was tremendous, British authorities wanted to stop their broadcastings. An 'anti-pirate station' bill passed and except for Radio Caroline all the great stations had to close down. In Sweden, Denmark and Norway the same had already happended in 1962. In the Netherlands, Radio Veronica survived. In 1970 this station had to compete with a new one, Radio Northsea International (RNI) and later with the Flemish-oriented Radio Mi Amigo and Radio Atlantis. Eventually the bill was also passed in the Netherlands in 1974. Again, many closed down, except Radio Caroline and Radio Mi Amigo.

Here I start a new series with music from the golden period of 'Offshore Radio,' the mid-sixties. For more information and a nice Dutch forum, click the offshore logo.

Virgin's 101 Pirate Radio Hits' release date was conspicuously close to the release of director Richard Curtis' The Boat That Rocked, a comedy about an illegal British radio station in the North Sea in the '60s. That said, it's hard to argue with the 101 songs that make up the budget-priced behemoth. The Eurocentric nature of the collection keeps it from morphing into an extended, four-disc version of the Forrest Gump soundtrack, as it boasts great material from Keith West ("Excerpt from a Teenage Opera,"), Small Faces ("Hey Girl"), and Easybeats ("Friday on My Mind"), but that doesn't make it any less deserving of a late-night television infomercial hosted by some long-in-the-tooth counterculture sub-icon or ex-MTV VJ.

****

VA - Radio Caroline Calling - 60's Flashback

This 55-track, three-disc collection features hits from the 1960s, including The Animals' "House of the Rising Sun," The Beach Boys' "Fun Fun Fun," and The Turtles' "Happy Together."

Full Title - Radio Caroline Calling 60's Flashback. 55 classic hits from The Animals, The Beach Boys, The Small Faces, Canned Heat, The Hollies, The Turtles and many more! Slipcase. Disky. 2003.